By Maxazine South Africa 
Dozens of new albums arrive at Maxazine’s editorial staff every week. There are too many to listen to, let alone review. This ensures that too many albums are left behind, and that’s a shame. That is why we post an overview of albums that arrive at the editors in short reviews today.
Photo (c) Jorge Fakhouri Filho
The Pretenders – Kick ‘Em Where It Hurts!
After more than four decades at the top of the rock world, Chrissie Hynde and The Pretenders demonstrate that experience and playfulness can go hand in hand. “Kick ‘Em Where It Hurts!” is a live album recorded during the band’s 2024 theatre tour, and the result is an intimate snapshot of a band still hungry for musical connection. The choice of theatres over arenas proves to be a golden decision. Hynde declared in 2024: “Clubs and theatres are better venues for the audience and the band,” and this philosophy radiates through every track. The 17-track collection effortlessly balances classic hits with deeper cuts from the band’s rich catalogue. What’s most striking about this live recording is how fresh familiar songs like “Talk of the Town” and “Back on the Chain Gang” still sound. Hynde’s voice still has that characteristic mix of vulnerability and strength that made The Pretenders so distinctive. The backing band, particularly guitarist James Walbourne, delivers tight playing that supports the songs without overshadowing them. The album’s highlights lie in the lesser-known tracks. “The Losing” from 2002 gains new urgency in the live setting, while “Private Life” from the debut album proves why The Pretenders were so influential to the new wave movement. “Biker” from 1999 shows Hynde’s ability to tell stories that are both personal and universal. A minor critical note: some songs feel somewhat worn through the years. The energy level fluctuates at times, which is inherent in live recordings and becomes noticeable upon repeated listening. A more balanced setlist with fewer hits and more rarities could have made the album even more interesting for true fans. “Kick ‘Em Where It Hurts!” isn’t a revolutionary album, but it’s a heartwarming reminder of why The Pretenders have such legendary status. It’s an album that proves authenticity and craftsmanship are timeless. For fans, it’s a must-have; for newcomers, an excellent introduction to one of rock’s greatest bands. (Jan Vranken) (7/10) (Chrissie Hynde)
Tropical Fuck Storm – Fairyland Codex
Tropical Fuck Storm’s fourth album is a sonic whirlwind documenting societal collapse with chaotic precision. The Australian experimentalists, formed from The Drones, have created on Fire Records an album that feels like an audio-documentary about civilisation in decay. “Irukandji Syndrome” opens explosively: a story about seafaring that transforms into an encounter with a warning giant jellyfish. Gareth Liddiard’s vocals alternate between whispers and screams, supported by Fiona Kitschin’s kinetic bass. “Goon Show,” the most accessible single, shows how experimental rock can remain melodic without losing intensity. The eight-minute title track marks the highlight: from acoustic introspection to explosive climax, with “A village in hell is waiting for you” as a prophetic thread. Musically, they leap effortlessly between genres – “Bloodsport” sounds like surf rock via David Lynch. Criticism: The album feels super-compressed with hammering pressure that barely lets up. More breathing room would have given the emotional catharsis greater impact. A freak show with a serious heart that asks whether music matters in times of crisis, and the band answers with a thunderous “yes.” (Anton Dupont) (8/10) (Fire Records)
Joshua Redman – Words Fall Short
Joshua Redman’s second Blue Note album introduces his new quartet with pianist Paul Cornish, bassist Philip Norris, and drummer Nazir Ebo. After thirty years, the saxophonist proves that innovation and tradition go together excellently. “A Message to Unsend” opens with a delicate, classically influenced essence that shows Redman’s compositional maturity. It unfolds meditatively in complex 7/8 and 7/4 time signatures, but the band makes it feel natural. The absolute highlight is “So It Goes” featuring Melissa Aldana. Their saxophone dialogue shows jazz at its best: individual excellence flowing together into something greater. “Icarus” with trumpeter Skylar Tang proves Redman’s eye for young talent – she had learned the music by heart in one night. The title track and ballad “Borrowed Eyes” have that typical “floating through the clouds” feeling of the best mainstream jazz: accessible but never superficial. The new quartet brings fresh energy while Redman communicates his vision. However, the album sometimes plays it too safe. More risks, like in his previous work “Where Are We,” would have given it a more modern edge. A mature, refined album that proves why Redman is one of the most important saxophonists of his generation. (Jan Vranken) (8/10) (Blue Note Records)
Benson Boone – American Heart
Benson Boone’s second album was written in just 17 days, and that haste is unfortunately noticeable. After the monster hit “Beautiful Things,” he faces the challenge of proving he’s more than a one-hit wonder, but “American Heart” fails to create a convincing musical identity. The album opens strongly with “Sorry I’m Here for Someone Else,” a stadium rock anthem that utilises Boone’s vocal range. “Mr Electric Blue” combines ELO nostalgia with a sincere tribute to his father, while “Momma Song” shows vulnerability, though undermined by over-production. The problem doesn’t lie with Boone’s impressive voice, but with songwriting that prefers effect over substance. “Mystical Magical” is too saccharine and unconvincing, “Man in Me” uses too many pop tricks. Where “Beautiful Things” had raw emotion, this album feels filtered through focus groups. The sterile production and forced patriotic themes don’t suit an artist still searching for his voice. The 30-minute runtime suggests quality was sacrificed for speed. An album that shows Boone’s talent but not the artistic maturity to use it optimally. Fans of his hit will be disappointed; others should wait for album three. (William Brown) (4/10) (Night Street/Warner Records)
Mason Jennings – Magnifier
Mason Jennings returns with his 20th studio album, recorded solo in his lakeside cabin in Minnesota with only vocals, acoustic guitar, piano, bass drum, and snare. This return to essentials shows Jennings at his most minimal and honest. “Castles” opens as a tribute to the imaginative worlds children create to survive difficulties. Fingerpicking guitar and soft piano create the intimate space where Jennings excels. “Joy in the Face of It All,” the first song written, functions as a statement about the current world situation – an ode to democracy and love without preachy tones. “Don’t Change” is a tender love song for his wife and three-year-old son, a meditation on holding onto what’s important. The darkest moment comes with “Blood Red Sun,” where his love for heavy metal and westerns converge in a story about a refugee, tension created through suggestion rather than explicitness. Jennings’ philosophy radiates through every song: “A song is like a boat on water. You try to make it float with as few parts as possible.” A small masterpiece that proves minimalism in the right hands is more powerful than any production trick. For lovers of authentic folk, this is essential listening. (Anton Dupont) (8/10) (Loosegroove Records)
